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                <text>Dead insurgents</text>
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                <text>Many of the archived images of the Filipino-American War are of Filipinos killed in battle. Many photographs, such as those included in this exhibit, portray corpses lined up for mass burial; it is rare to find images of Americans dead. It has been argued that the widespread circulation and archiving of these violent images of dead Filipino insurgents function as part of the American imperialist project. The picture above of the bodies of dead Filipino insurgents–as they were referred to by the Americans–who were killed while attempting to escape from a trench and lined up in a rice paddy, shows how violent this war was.</text>
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                <text>https://quod.lib.umich.edu/s/sclphilimg/x-642/phla668.</text>
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                <text>Many of the archived images of the Filipino-American War are of Filipinos killed in battle. Many photographs, such as those included in this exhibit, portray corpses lined up for mass burial; it is rare to find images of Americans dead. It has been argued that the widespread circulation and archiving of these violent images of dead Filipino insurgents function as part of the American imperialist project.This photo depicts insurgents captured and guarded alongside their fallen compatriots by American soldiers in the Bulacan Province.</text>
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                <text>Cover illustration from the 1961 facsimile of Noli me tangere</text>
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                <text>This illustration above from the cover of the 1961 edition of Noli me tángere depicts an iconic scene from the novel, where the protagonist Juan Crisóstomo Ibarra attacks Padre Dámaso after the Spanish priest taunts the memory of Ibarra’s dead father. </text>
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                <text>José Rizal</text>
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                <text>The intellectual, martyr, and national hero José Rizal–pictured above wearing a dark suit with a white collar in a closely framed photo–wrote the two foundational novels of the Filipino nation in Spanish.  </text>
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                <text>https://catalog.loc.gov/vwebv/search?searchCode=LCCN&amp;searchArg=2005686023&amp;searchType=1&amp;permalink=y</text>
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                <text>Another Filipino writer who wrote in Spanish was Isabelo de los Reyes, pictured above wearing a suit jacket and bow tie in a closely framed portrait. </text>
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                <text>Isabelo de los Reyes y Florentino</text>
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                <text>Dedication to, and portrait of, Mrs. Taft, in the 1907 edition of Nínay</text>
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                <text>The Ohio-born Helen Herron Taft, wife of William Howard Taft, appears in this dedication page of the 1907 edition of Nínay, posed wearing the formal Tagalog attire for women. William Howard Taft was the American governor-general of the Philippines between 1901 and 1903. He eventually became the 27th US President.</text>
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                <text>Pedro Alejandro Paterno</text>
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                <text>Portrait of Pedro Paterno</text>
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                <text>Pictured sporting a handlebar mustache and wearing a suit and tie in the formal portrait above is Pedro Paterno, author of Nínay, in whose narrative were interwoven the funerary customs of the local mestizo community.</text>
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                <text>Jose N. Sevilla</text>
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                <text>Cover Page, and beginning of the Pasyón from Manḡa panalanḡing pagtatagobilin sa caloloua nang tauong naghihinḡalo (Prayers of Commendation for the Souls of the Dying)</text>
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                <text>Pictured above, from left to right, are two black and white pages from Manḡa panalanḡing pagtatagobilin sa caloloua nang tauong naghihinḡalo (Prayers of Commendation for the Souls of the Dying), a Tagalog translation of a Spanish book of prayers. The first page is the cover page, displaying the title, authors, and the place of publication. The border around the coverpage has thick outlines of semi-circles, with a curled design inside that stops at the thin rectangular border around the text. The other page is the first page of the Pasyón, the Philippine epic poem about the life of Jesus Christ, written in Tagalog. At the top of the page is a depiction of angels around a coat of arms. </text>
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                <text>Thomas de Villacastin and Gaspar Aquino de Belen</text>
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                <text>"Indio Priest" watercolor from Vistas de las Yslas Filipinas y trages de sus habitantes (Scenes from the Philippine Islands and Costumes of their Inhabitants)</text>
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                <text>These watercolor paintings from the 1847 Vistas de las Yslas Filipinas y trages de sus habitantes (Scenes from the Philippine Islands and Costumes of their Inhabitants) by the Filipino painter José Honorato Lozano give us an idea of how these people might have looked like. The watercolor painting on the right portrays an indigenous Filipino priest in a wide-brimmed black hat and black robes with a white clerical collar. In his left hand, he holds a yellow pointing stick, and with his right hand, he pats the head of a boy wearing a striped shirt and pants and a yellow scarf. The boy holds a white pillow with a Spanish-style bonete (clerical biretta) resting on it. The watercolor is captioned "Cura Indio" (Indio priest). </text>
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                <text>José Honorato Lozano</text>
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                <text>Biblioteca Nacional de España, Madrid, ES</text>
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                <text>"Gobernadorcillo" watercolor from Vistas de las Yslas Filipinas y trages de sus habitantes (Scenes from the Philippine Islands and Costumes of their Inhabitants)</text>
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                <text>These watercolor paintings from the 1847 Vistas de las Yslas Filipinas y trages de sus habitantes (Scenes from the Philippine Islands and Costumes of their Inhabitants) by the Filipino painter José Honorato Lozano give us an idea of how these people might have looked like. The watercolor on the left depicts a native gobernadorcillo, (literally, “little governor”), or municipal judge, sitting at a desk. The man wears a high-collared white and red striped shirt with gold buttons, and a gold necklace. He has a white overcoat and grey pants, and he holds a gold cane. On top of the desk is resting a black top hat, a few quills and an inkpot, and two sheets of paper with writing on them. To his side, there is an open window overlooking a few trees, and hanging on the wall behind the man is a portrait of Queen Isabella II, who reigned over Spain at the time when the watercolor painting was produced. </text>
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